Low-Budget-Film
A low- budget movie [ ˌ loʊ bʌdʒɪt ] ( German film with a small budget ) is a film production, which has only a small budget, and is usually produced outside the established studio system. The low-budget film was shown in the classic Hollywood mostly in the double feature as a B- movie with elaborate large-scale productions ( A-Film ). From the late 1940s, independent companies such as American International Pictures (AIP ) is specialized in the production of low-budget films. To save costs, used scenes were often used and chosen a close period for the shooting. Through the use of a few means of production, the film genres of the avant-garde, independent and Exploitationfilms be assigned to the low-budget principle. The U.S. Screen Actors Guild ( SAG) in 1996 on the basis of budget statistics created a classification for low-budget productions to derive guidelines for the remuneration of actors. The budget range of the five categories created enough ( Experimental Film Agreement ) of less than 75,000 up to two million U.S. dollars. In contrast to the no-budget film a low-budget film is motivated by profit.
Definition and development
Regardless of the industrially produced low-budget Hollywood films, the low-budget aesthetics is also the subject of the avant-garde, experimental and underground film. The low production costs and turning himself in humble circumstances gives rise to small personal films which are sometimes excluded from the landmarks. The New American Cinema and the Nouvelle Vague did the term low budget the epitome of artistic cinema advance far from the mainstream. Low Budget is also available for the films of Exploitationskinos that follow the principle of low produced repetition and exaggeration of commercially viable ideas. The film Sweet Sweetback 's Baadasssss Song ( 1971) by Melvin Van Peebles was the one spark for the genre of blaxploitation, the other a representative of the New Black Cinemas. Both the artistic and the commercial low-budget - film took place in the 1970s and 1980s, the entrance to the general concept of Independent Films.
( Stranger than Paradise, 1984 Continuous Holiday, 1982) by successes on low-budget film festivals in the 1980s and 1990s saw the establishment of the independent film directors like Kevin Smith ( Clerks, 1994) and Jim Jarmusch. Your first directorial projects were not only groundbreaking for the low-budget film, but were also a reflection of our own Popwelten that appeared realistic than the tried clichés of big productions. In the 1990s, however, the low-budget film fell behind the mainstream, the more and more differentiated. They were small films that still created a stir. For example, El Mariachi (1992 ), which won the Sundance Film Festival with a budget of $ 7,000 or the Russian production The Brother ( 1997), which cost only $ 10,000 and an award at the Chicago International Film Festival was. The surprising success of The Blair Witch Project (1999) was the low-budget film eventually become a mass phenomenon. The first with a budget of 22,000 dollars independently produced horror film was shaky, pseudo- documentary settings and efficient internet marketing to event movie and made a profit of about 248 million U.S. dollars.
The renaissance of the low-budget film was made possible by the initiated by Lars von Trier and Thomas Vinterberg, Dogme movement in Denmark, whose films have received collection in numerous festivals. Digital cameras allowed cost-effective Produce and commitment of well-known actors such as Jean -Marc Barr and Asia Argento. Dogma co-founder Søren Kragh- Jacobsen ( Mifune sidste sang, 1998) compared the cinematic abstinence of the manifest with the Renaissance of unplugged songs. This analogy between Dogma 95 and the acoustic concert of the music channel MTV also describes the dissolving borders between low budget and mainstream.